The opening event will take place on April 1, 2023 at 1 p.m. directly on the quarry site. „Spuren lesbar machen im NS-Zwangsarbeitslager Roggendorf/Pulkau“ (Making traces legible in the Roggendorf/Pulkau Nazi forced labour camp) – is a collaboration between the historian Edith Blaschitz, the residents of the Roggendorf/Pulkau region, the artists Rosa Andraschek and Martin Krenn as well as the St. Pölten University of Applied Sciences and the Institute for Jewish history of Austria. “The web app “The Quarry, the Camp and the Villages” developed by Martin Krenn makes stories of the former quarry visible and audible. As you explore the area today, the present is overlaid with different historical perspectives.” https://granitsteinbruch.at “In her “Memory Spaces,” Rosa Andraschek creates a digital memory space in which memories can be further networked. Blank spaces, fragments and fragments of history serve as the starting point for memory work.”
Projektion auf den Niedersächsischen Landtag von 7. bis 13. Mai 2022, mehr als 200 Videostatements von Bürger:innen, Bürger:innenrät:innen und Abgeordneten: https://enlightening-the-parliament.de
Videointerviews mit Bürger:innen, Bürger:innenrät:innen und Abgeordneten Konzeption: Martin Krenn, Carlotta Oppermann Schnitt: Carlotta Oppermann Interviewführung: Carlotta Oppermann, Josephin Ackermann, Lena Götzinger, Gio-Lina Heike
Innenansichten des Niedersächsischen Landtages Film1: Konzeption, Kamera, Schnitt: Lina Bramkamp, Clara Mannott, Paula Andrea Knust Rosales Film 2: Konzeption, Kamera, Schnitt: Andreas Baumgartner
Grafische Gestaltung Website, Design der Fragenbox, der Banner für die Projektionstürme sowie der Themenkarten: Felizitas Zechmeister
Entwicklung der Konzeption des gesamten Projektes Josephin Ackermann, Andreas Baumgartner, Janis Binder, Lina Bramkamp, Leevi Ervast, Lena Götzinger, Gio-Lina Heike, Martin Krenn, Clara Mannott, Jonas Meyburg, Carlotta Oppermann, Rolf Pilarsky, Paula Andrea Knust Rosales, Ingo Schulz, Ayliz Tosun, Iris Wegner
Austria Is a Wonderful Country recalls the brutalities and subjugation that took place during the “Anschluss” of Austria by Nazi Germany in 1938. With the participation of the Austrian population, Jewish men and women were forced to wash away political slogans by the former Austro-fascist “Ständestaat” (Corporative State). The central part of the installation is a video film based on original quotes from eyewitness reports and image descriptions of historical photos. Several characters narrate the quotes from the eyewitnesses in the film. One of them is a reporter (played by actor Annamáría Láng), another is a contemporary witness (played by the actor Peter Rothkappel). Both of them appear in the video at historically contaminated locations. The reporter talks about the events that happened during the 1938 “annexation”; she speaks from the perspective of journalists and describes documents as well as historical photos. The third character (Susanne Bock) is the off-screen narrator; she reads quotes from eyewitnesses who were victims of the Nazi persecution. Susanne Bock also reads a quote from her own biography. In the epilogue, Robert Halpern, one of the last eyewitnesses of the “Reibpartien,” describes his experience when he fell victim to one of these pogroms.
Curatorial team Marina Gržinić, Christina Jauernik, and Sophie Uitz Stories of Traumatic Pasts: Counter-Archives for Future Memories Exhibition at Weltmuseum Wien, 7.10.2020 – 3.4.2021
The books have arrived in Berlin and Belfast and are ready to order. Thanks to Anna-Sophie Springer and K. Verlag | Press for the support and the photos. Restaging the Object: A Participatory Exploration of Long Kesh/Maze Prison Martin Krenn & Aisling O’Beirn (eds.) With contributions by Martin Krenn & Aisling O’Beirn, Laura McAtackney, Suzana Milevska & Peter Peter Claus Mutschler and the project participants Simon Bridge, Phil Holland, David Stitt, The 50+Group under the umbrella of Tar Anall, the Eileen Hickey Irish Republican History Museum, the Roddy McCorley Society Museum, the Andy Tyrie Interpretative Centre, as well as a number of contributors who prefer to remain anonymous.